Yeah, this is definitely a case of different priorities and tastes. For some with really good transports, and for those who don't want upsampling, and for other reasons, the DAC1 and many of its counterparts are not the best choices. For me, jitter rejection is very important, and with my cheap iMac's optical out > bargain toslink cable > DAC1, I get outstanding jitter rejection that's as good as it gets at any price, so I don't have to fuss over mid-range coloration and artifacts that are so prevalent on jitter-prone sources. What some might preceive as a more fully-bodied mid-range, to me, is coloration.
Some here don't like the DAC1's treble, and I can certainly understand why. The DAC was designed for engineers who want brutal accuracy. I tend to side with many mastering engineers in believing that the DAC1's treble is just revealing the material, not etched or majorly colored. During the a mini-meet in Cal (?) earlier last year, EdWood and others chose the DAC1 over the Bel Canto 2 because some felt that the DAC1 "effortlessly" rendered highs that the DAC2 couldn't match.
Again, different strokes for different folks is the old cliche that applies here.